Harrison Goldberg music @ All About Jazz

Updated: April 17, 2021

Born: November 5

Harrison Goldberg is a progressive multi-saxophonist and visual artist living in Gualala, northern California. An alumnus of Boston's Berklee College of Music and a frequent and popular performer and prolific recording artist with a variety of bands at venues along California’s Mendocino-Sonoma coast, Harrison makes regular appearances at the annual Sonoma Mendocino Coast Whale & Jazz Festival and its educational program for young people, Jazz For The Schools. Besides his music activities he is recognized as an award winning visual artist whose pieces and unique wine label designs have found their way into corporate and private collections worldwide. Following a series of successful music workshops for children, Goldberg has developed an epic musical edutainment story for young people, ...& Music Was King™, which is in the process of being scripted for theater performance. He is also the creator of a cross- cultural music workshop project titled Tapestry International: Celebrating the Living Fabric of Cultures Entwined, and its companion performance venue A Sound Vision, which showcases the artistic contributions of children in Tapestry International's host countries.

Playing professionally since age 17, Goldberg enjoyed 12 years in the vibrant Newport, Rhode Island jazz scene, augmented by stints in Miami and on Carribean cruise ships, before relocating to northern California in the 1980's. Here his expansion beyond mainstream jazz began in 1992 with formation of the performance art collaborative Tabula Rasa. This four piece ensemble undertook an intentional regimen of mental and musical exercises designed to reach beyond the players' traditional “programming” as jazz musicians, and augment it with the ability to create new music purely by inspiration... through attentive, intuitive listening. (See NeonEgypt.com: Intuitive Music) This thread was later carried forward and expanded with other players in the group Cloudfire (cloudfiremusic.com), and in partnership with computer-electronic musician and visual artist Simon Burnett as Lavender Fog . Harrison's latest group, BAKU, is dedicated to the art of spontaneous composition, combining contemplative, ambient structures and melodies with a strong, yet relaxing rhythmic pulse. Their “Jambient Soundscapes” embody a fusion of jazz, Afro beat, Middle Eastern, and other world influences and rhythms.

Goldberg continues to explore common ground between jazz music and the visual arts, collaborating with other mainstream and experimental artists around the globe from his home north of San Francisco. As he explains in his essay ImproVart: Jazz Musician As Painter, “As a practitioner of the musical and the visual, I embark on a dual creative journey. When I begin a painting I eagerly anticipate connecting heart and soul with a rich inner music. While creating, I observe, and at the same time listen to the painting to hear its underlying melody, allowing shapes, forms and colors to begin their inspired dialogue. And as in true jazz, a song soon emerges.”

Committed to sharing the fruits of his evolving artistic journey with audiences and fellow artists alike, Harrison continues to explore new musical expressions that expand the boundaries of his creative imagination. He describes his role in music as “one of many travelers... in concert with one another capable of creating peaceful and harmonious global connections, and building bridges with our neighbors near and far.”

Web Site: See Harrison's artwork with music pairings at: www.HarrisonGoldbergArts.com

Instruments: Yamaha YSS-62 soprano sax, Selmer MKVI tenor sax, and Conn 1920’s vintage silver alto sax

Discography:
Scotch 'n' Soda - Goldberg/Long (Newport Productions) 1980
Tabula Rasa - Tabula Rasa (Phenomaly Records) 1995
Legend - Legend (Phenomaly Records) 1996
Motif - Goldberg/Foote (Foote Audio) 1998
Weather - Goldberg/Foote (Foote Audio) 1998
Tales Of Kings - Neon Egypt (Phenomaly Records) 2000
Hot Neon - Neon Egypt (Phenomaly Records) 2000
Cool Neon - Neon Egypt (Phenomaly Records) 2000
A New Kind Of Understanding - Inner Rhythm (Inner Rhythm Music) 2002
An Accident Of Chance - Goldberg/Kaplan (Big Wave Records) 2004
You'll Be Fine - Cloudfire (Cloudfire Music) 2009
Tempest - Cloudfire (Cloudfire Music) 2010
Cirrus Circus - Cloudfire (Cloudfire Music) 2011
Live at the Arena Theater - Cloudfire (Cloudfire Music) 2011
Underground - Cloudfire (Cloudfire Music) 2012
Landscape of a Dream - Lavender Fog (Burnett/Goldberg Music) 2012
Destination - Lavender Fog (Burnett/Goldberg Music) 2013
Trance Lucent - Cloudfire (Cloudfire Music) 2014
Cloudfire & Friends (Cloudfire Music) 2014
The Infinite Now - Stardust Messenger with Ian Stinson 2016
Pool of Mirrors - Pacific Woods 2017
Brushstrokes - Elipsis 2018
Sanctuary - Pacific Woods 2018
Unearthed - Neon Egypt (Phenomaly Records) 2020

Awards

August 2000 - Festival of Art In The Redwoods, Mixed Media second place.
August 2000 - Judges Award - Festival of Art In The Redwoods, Mixed Media

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What is Intuitive Music?

- by David Steffen in The Lighthouse Peddler, June 2016:
Musicians of all kinds can be impressive but it’s clear I’m a sucker for the Saxophone. In the 1970s and 80s I worked with a long list of marvelous musicians in pop, Americana, R&B, AC (adult contemporary), jazz, classical and more. And I collected vinyl records and CDs for years. But like music lovers of all genres, I had my real favorites and surprisingly (to me) I had a respectable jazz collection of a couple of hundred titles. The appreciation for jazz began with a visit to a record store in Chicago’s Old Town and the random purchase of a used vinyl gem: Jazz Workshop Revisited, a live album by saxophonist Julian “Cannonball” Adderley on the Riverside label. Some weeks or months later there was the purchase of the new John Coltrane album, A Love Supreme. Music is at once both personal and social, and finding common ground as listeners or as performer and audience, plays on our emotional component. Moving to the coast I’ve made any number of new friends. And one of them is a particularly impressive musician.
On first glance, Harrison Goldberg appears to be like so many of us. On the Mendocino Coast we are all influenced by the environment, and I’m not just talking weather here. There’s an effort to enjoy the coastal life: work, creativity, romance, intellect, and so on. In short, living. That being said, on closer inspection and getting to know Harrison, you can see that he savors life here and incorporates the influences into his creative gifts. Most obvious are his musical gifts. He’s a multi-instrumentalist, Harrison Goldberg: Inspired By Music, Baseball, Art, And Life On The Coast but the heart of his music is about the sax. He doesn’t just perform. He writes, he records, he pushes himself to continue the creative journey.

There he was, on stage, during a recent performance at Point Arena’s intimate pub 215 Main. As he started playing “Take Five” I wondered at first just why he’d elect to perform one of the most recognized songs on the planet. As he played, the familiarity was there, yet to his credit he made it sound fresh, and not clichéd.
Harrison Goldberg was much like other impressive players I’ve known and heard. But it was, after all, a trio. Seeing him on stage, there appears to be a distinction between the extrovert composer- musician as a performer, and his slightly more understated role as emcee. Between songs he tends to defer intros and outros to those performing with him, making certain they each receive sufficient attention, before introducing himself with a bit less volume. Harrison has the chops, yet he doesn’t work at making himself the single center of attention. For example, Goldberg placed a noted emphasis on the vocals and piano work of Rob Ellis, and bassist Joel Kruzic. And deservedly so. The result is that you listen to the whole, ultimately forming your own opinion as to which part of the performance, which one of the three musicians spoke most directly to you. This approach (at least as viewed through my observations at a recent show) make the performance far more enjoyable.
A surprising side of Harrison’s creative output is his painting, which includes a gallery opening at Red Shoes Gallery, 1040 North Dutton Avenue, Santa Rosa this month. His use of color, texture, and inspiration are compelling and worth seeing in person. Samples of his art are on his website(www.HarrisonGoldbergArts.com). Opening receptions on Friday and Saturday June 24 and 25. The paintings will be on display through mid-July.
Recently Goldberg has been developing a project he’s titled “Imagine If Jazz Were Like Baseball”, and before you jump to any conclusions, this isn’t a casual (or trivial) take on jazz and jazz musicians. And the work is certainly not meant to be a transposition of, for example, earlier cleverness like the 1910 baseball poem by Franklin Pierce Adams, “Tinker to Evers to Chance”. Rather this is Goldberg flexing his creative muscle and offering a thoughtful, enjoyable, and highly listenable experience as he talks through his imagined game, supported with an appropriately-flavored jazz rhythm section.
Like professional athletes across multiple sports, jazz musicians have long had nicknames. Digging deep we might find that one or two were perhaps a little less than organic (created by a musician as a self indulgent sobriquet). But the vast majority were gifts from other players or fans or family members. Louis Armstrong, for example, was reportedly called Satchelmouth early on, some say due to his large mouth. Apparently even Satchelmouth needed a nickname, hence the abbreviated Satchmo. In addition to Armstrong, Goldberg brings numerous familiar nicknames to the project. Names like “Bird” (Charlie Parker), “Trane” ( John Coltrane), “Cannonball” (Julian Adderley), “Count” (William James Basie), “Duke” (Edward Kennedy Ellington), and so on. Although you need the soft musical backdrop to fully appreciate the effort, here’s a brief passage from “Imagine If Jazz Were Like Baseball”:
“It’s bases loaded with two outs in the bottom of the ninth. Three to two count on the batter and the game is all tied up. Then back up to the plate he steps, Cannonball Adderley, his fearsome alto Brushing a wide chest. The crowd yells Mercy, Mercy!’ And you can hear that horn man blowing loud and steady, Swinging mightily with his sax.”

Goldberg’s imagery is playful, thoughtful, evocative. In this brief excerpt from his creation we can easily see Adderley standing in the batter’s box with his saxophone, not a bat. And the baseball-loving crowd knew immediately that “Mercy, Mercy!” was the perfect cheer. With luck this new creative work will find its way to a recording in the near future so that we can all savor it at home, without requiring a drive to the ballpark. After all, music and the images it conjures up are to be enjoyed wherever we are most comfortable. But Harrison knew that from the first moment he started creating “Imagine If Jazz Were Like Baseball”. Catch Harrison Goldberg at one of his regular performances on or near the Mendocino coast. You won’t be disappointed. In fact, it might be the cure for what ails you.

You can view the original article here: http://www.HarrisonGoldbergArts.com/files/20/9/Harrison-David-Steffen-2016.pdf

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